For Motown bass, there's nothing better than (that I'm aware of) the book "Standing in the Shadows of Motown." It has a bit of Motown/James Jamerson history, and transcriptions of many of his famous lines. It includes recordings of many other famous bassists playing these lines.

I recently got Motown Bass from Hal Leonard publishing. About 80-85% of the book are songs Jamerson played on. I think it breaks down the songs pretty well and gives a history of what was happening with Motown at the time. This book is$20 and I saw Standing in the Shadows of Motown for $35. Either way Jamerson's basslines are brilliant and worth studying.

While simplistic statements like this generally have an element of truth, without a detailed explanation of your point, I think it goes to waste and can be counterproductive.

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Motown,like jazz,is steeped richly in the aural tradition.Individual parts and whole songs were taught/learned by ear.Formal study of the genre must be augmented,no,surpassed by simply first learning the music by ear.Any serious discussion of this must acknowledge that first.
Given the nature of the original post,to simply suggest Standing in the shadows of Motown as a means to learn the style,I think is misleading.For a newcomer those charts are daunting.I'd much rather see that student,bass in hand with his finger on the pause/rewind button developing his ear at the same time,rather than struggling with the syncopated funk reading those charts posess.Having said that,after the student has immersed himself in the aural aspect of the music,then introduce the chart for analysis and reading.
The ability to learn these songs by ear is by far and away the most important life/professional skill a young bassist can acquire.
There is a whole generation of young bassist's out there incapable of tuning their instruments without an electric tuner,that worries me.